Article
Comment
Community
Education
4 min read

There’s a blindingly obvious way to teach religious tolerance

George Pitcher disagrees with the media’s approval of a school ban on religious observance.

George is a visiting fellow at the London School of Economics and an Anglican priest.

school pupils sit at desk, some with a hand raised.
Michaela School pupils in class.

The decision by “Britain’s strictest school”, the Michaela Community School in north-west London, to ban religious observance after a Muslim majority among the children started prayer rituals, which led to some bullying and violence (and indeed a lawsuit), has met with almost universal media approval across the political spectrum. 

Nick Timothy, a columnist on the Daily Telegraph and a former spin-doctor for Theresa May as prime minister, predictably used it as a dread warning against an Islamic threat under the headline: “Multiculturism is becoming a Trojan horse for Islamist domination.” 

In what some might term as the sensible middle-ground of the Sunday Times, Camilla Long weighed in with an attack on Muslim cultural observance and then posed the extraordinarily illiberal question: “Wouldn’t it be better if we banished faith in schools altogether?” On the left, Polly Toynbee in the Guardian agreed, concluding that it’s “time to abolish religious schools.” 

This seems to be the kind of old-school management that said that if you can’t play together nicely, there will be no playtime for anyone. 

There’s something cultic about the free school Michaela and its headteacher, Katharine Birbalsingh. The right-wing love it for its Gradgrind strict disciplines and consequently high academic results. The left are said to hate it for much the same reasons. And almost universally Ms Birbalsingh is treated as an educational demi-god. 

Allow me to demur. The first thing I want to say is something I think is blindingly obvious: You don’t teach children religious tolerance by being religiously intolerant. I don’t usually like to have to coin a truism, but there we are.  

The desire to ban is an unfortunate tendency in Birbalsingh. I understand why she might want to ban knives or drugs or porn in her school, as would all schools, but religious observance? This seems to be the kind of old-school management that said that if you can’t play together nicely, there will be no playtime for anyone.  

Transposed into the religious context, that becomes: “If you can’t pray together nicely, there will be no prayers.” This grows into an extreme form of secularism, which pretends that there is no religion in the world, when we know that in fact it’s full of religious people. That doesn’t seem to be a good education for our young, if good education is meant to prepare them for the world, which I posit that it does. 

I’m with our late Queen Elizabeth on this and, in particular, the profound generosity of her Christian faith. 

The next thing I want to say is that it’s incumbent on a decent school to teach that the three Abramic faiths – in order of their emergence, Judaism, Christianity and Islam – are in their authentic forms religions of peace.  

Anyone who claims that Islam’s holy book, the Koran, is intrinsically violent clearly hasn’t read the  the Bible or the Torah. But, in all three instances, human violence and oppression are met with the redemption of an all-loving God.  

It follows that the Michaela can and should ban bullying and intimidation, but not the authentic cultural practices of these religions. It might, naturally, simply be easier to ban the lot and be done with it, but nobody has said that running a school is meant to be easy. 

In my own experience as a parish priest, visiting a Church of England primary school (the sort that Toynbee, as a good liberal, would ban) for assemblies, is that tolerance and diversity are best taught naturally by practice.  

At prayer time, I was gently reminded by the headteacher that I shouldn’t invite the children to pray with words such as “hands together” as that’s not how all families pray (if they pray at all). Better to say: “Let’s get ready to pray, however we do that.” Tolerance in action. 

Finally, off the back of talking about a Christian school in a nominally Christian state, I’d like to conclude with how a Christian school (clearly not Birbalsingh’s) should behave. Clearly, evangelising in a multicultural institution is inappropriate. What we should aspire to is pluralism. 

I’m with our late Queen Elizabeth on this and, in particular, the profound generosity of her Christian faith. She delivered a speech at Lambeth Palace to mark her Diamond Jubilee in 2012. She started by saying: “The concept of our established Church is occasionally misunderstood and, I believe, commonly under-appreciated. Its role is not to defend Anglicanism to the exclusion of other religions. Instead, the Church has a duty to protect the free practice of all faiths in this country.” 

She went on to say: “Gently and assuredly, the Church of England has created an environment for other faith communities and indeed people of no faith to live freely.” It seems to me that this should be an aspiration that is taught in our schools. Not just the Christian ones, but all of them.  

It invites children of other faiths and of no faith to respond accordingly. It seems to be at the heart of an education that teaches how the world actually is, rather than how we fantasise it to be.   

And it provides a considerably more valuable lesson for children than the instinct of Ms Birbalsingh and her media cheerleaders to ban things.  

Review
Art
Community
Culture
5 min read

Ceremony's superpower is on show at Berwick Parade

Reinventing historic touchpoints between faith and community.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A projected image of a person dressed as a mermaid being pushed on a trolley falls on the wall and windows of an old barracks.
The Maltings (Berwick) Trust, Jennifer Charlton Photography.

Watch the parade

Ceremony is beating a retreat. Although wheeled out for major life events: naming newborns, marriage and bidding last goodbyes, and for grand state and civic occasions, standing on ceremony is frowned upon in day-to-day life. Ritual is treated warily, in case it creates an ‘us and them’ chasm between participants, seen as elite, and spectators, presumed to be condemned to disempowering passivity. 

But what if, far from alienating people, the power of ritual, ceremony and spectacle could be a force for engagement? The church and military both have a history of creating, reinventing and refreshing rituals to meet changing social needs. The army chaplaincy is an invention of the late eighteeneeth century, responding to the move towards more settled communities of soldiers, requiring spiritual support. Drumhead altars, a centrepiece of November’s Festival of Remembrance, have origins going back into the mists of time, but quite how far back it is hard to say with certainty.  

Processions and festivities for holy days are more apparent in Catholic countries, with Seville’s Semana Santa parades springing to mind, but well -dressing, May Queens, harvest festivals and Remembrance Sunday reveal a continued desire for entwining of church and community rituals, across faith traditions. 

Art’s ability to step into the ceremonial space and create moments of communion, as well as giving voice to underrepresented groups, has been evident since Surrealism. British Surrealist Eileen Agar’s crustacean strewn ‘Ceremonial Hat for Eating Bouillabaisse’, 1936, attracted collective gasps when she wore it in London. In Sao Paolo in 1931, Brazilian modernist Flavio de Carvalho had to be rescued by police when he walked, hatless, in the opposite direction of a Corpus Christi procession, and the crowd wanted to beat him up. 

Artists can also create spectacles of togetherness and joy. 

Berwick Barracks is a challenging site for community arts. The massive walls and monumental stone-grey interior of Britian’s first purpose-built barracks is reminiscent of eighteenth century experiments in prison design. Even the windows on the living quarters, confirming it is not a prison, are tiny-paned and meanly spaced, like an afterthought dotted reluctantly on the overbearing grey expanse. 

But over the weekend of Berwick Parade, the barracks’ forbidding walls turned into a living portrait of the border town. Under a piercingly brilliant starlit sky – it was the night of the six planet alignment – an audience gathered in the middle of the parade ground to watch themselves, neighbours, friends and family members move across the barrack walls. Artist Matthew Rosier’s projection at x10 magnification transformed the townspeople into giants, and the forbidding military structure of Berwick Barracks into a canvas for joy and creativity. 

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew. 

The dancing, riding and processing images were soundscaped by music from the repertoire of the Kings Own Scottish Borderers, who have their ceremonial base, and museum, at the barracks, accompanied by the Melrose and District Pipes and Drums. Positioned by the main gate, the musicians set the expectation of spectacle with the rousing music associated with marching bands, as Scotland the Brave gave way to Mairi’s Wedding, and then a medley of upbeat, om-papa outdoors tunes.  

Over 30 minutes, topped by veterans of the Kings Own Scottish Borderers and tailed by hi -vis vest wearing Berwick Parade production staff carrying metal barriers, a parade including processing clergy and the Bishop of Berwick, conga-ing medics in scrubs from Berwick Hospital, brownies, boys’ and girls' football teams, civic leaders in mayoral regalia, Morris, Highland and flamenco dancers, and midlife wild swimmers, shimmied across the walls. Berwick Riders Association were filmed on small ponies, so the magnified projection would not crop the riders into headless torsos. A wheelchair user crossed the expanse of barracks wall wearing a mermaid’s tail. Everybody involved was simultaneously true to life and larger than life. 

Consisting of 850 characters, some of Berwick’s residents played more than one role. “Ooh there’s Cheryl again” commented a spectator next to me, as another pageant of figures travelled across barracks’ perimeter. 

Speaking to Rossier the following morning, he revealed Parade participants had been filmed in the barracks, travelling across a10 metre stage. Magnification made these sequences large enough to cover one wall of the rectangular parade ground. Editing and projection created the appearance of participants entering at one corner and disappearing around the next.  

Movement filmed across short distances opened up participation in the Parade to people with mobility and health issues, in a way that physically journeying around the whole parade ground, repeated over three nights, never could. 

Filmed over six bitterly cold days, choreographer Chloe Sayers had to keep participants’ spirits and energy up as they devised ways of travelling across 10 metres that represented their personality, role and creativity. Sayers specialises with creating events with the public rather than professional dancers, and says that enabling people to express themselves through movement in spaces not always thought of as welcoming, breaks down barriers and creates a sense of ownership. 

Some of the funniest moments in Berwick Parade were rare breeds sheep hogging the limelight like divas, and children clowning around with policemen’s helmets and clipboards. Rosier says primary school years are a sweet spot for performance. ”I love the energy kids bring. We had all age groups, but the six- to 10-year-olds bring so much energy. They just bounce. They have no inhibitions but are good at following instructions. At 12 or 13 heads start to drop and they become more self-aware.” 

Rosier drew on his Irish Catholic mother’s tradition of ceremony and celebration with food and drinking, whether for a wedding or a funeral, to make Berwick Parade a fun place to hang out - food stalls included - beyond the performance. “I want people to have a nice time and not be subservient to the thing they have come to watch.” 

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew. 

At King Charles’ coronation, the church’s ceremonial superpower was on display to the world. And as artists demonstrate, ceremony does not have to be confined to great occasions. Churches in all traditions can draw on their legacy of historic touchpoints between faith and community, to reinvent, reinstate and refresh rituals to engage with people’s contemporary concerns and hope. 

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief